Articles

The article is devoted to the problem of the methodology of analysis of new musical stage forms at the turn of the 20th–21st centuries. During this period, such types of theater as immersive, participatory, walker, imagination theater, theater without an actor, theater of Sound, sound drama, theater of changing hierarchies and a number of others were born. Various mixed performances have become the norm, in which drama is combined with circus, dance, opera, instrumental theater, jazz, and video art. Often the relationship with the viewer changes. The fourth wall is destroyed, and the viewer becomes an accomplice of the performance. There are other principles of dramaturgy here. They are fundamentally different from those known in the director's interpretive theater of the twentieth century. Determining the directions of searches is at the center of the proposed work.

The analysis of these diverse phenomena is complicated by the fact that such a familiar factor as a play, a narrative, that is, a linear presentation, disappears. Dramaturgy often arises on the basis of a generally significant myth. Classical works, historical events, characters of history, heroes of popular works become myths, which gives directors and performers freedom of interpretation. Therefore, prequels and sequels based on famous works have spread in artistic practice and not only in the theater, but also in literature, cinema, computer games. This topic requires a separate study. At the present stage, the specifics of classical opera and ballet productions have been studied to a greater extent. Musical performances on the dramatic stage are an unexplored area. But they establish their own laws of organization of the whole, a dialogue of different arts arises. The traditional hierarchical vertical is replaced by a polyphonic horizontal. The principle of correspondence of all expressive means of the theater to the word is being replaced by the contrapuntal way of organizing the artistic resources used in this particular performance. As an example, let's highlight such areas as the Theater of Sound, the Theater of Imagination, Sound drama, the theater of changing hierarchies. The dramaturgy of counterpoint of heterogeneous means of expression is another problem that needs to be studied. A new polyphonic thinking is emerging before our very eyes. Established other relations with the public. Vivid images, not connected by a narrative, provoke the audience to complete their connection, awaken the fantasy. Changes in artistic thinking, understanding of the role of the composer and director at a new stage in the development of theatrical art were clearly manifested in their statements, which are given in this article.

Problems identified in the study: the rejection of the narrative, the turn to a generally significant myth (mythologems) as the basis of stage interpretation; the change of the principle of correspondence of all expressive means to the word by the counterpoint of the arts; the emergence of new non-genre formations and areas of creativity record a change in artistic thinking. And this is a global topic, It requires a comprehensive study and consolidation of the efforts of researchers from various fields of art.

The article discusses the features of the approach of Chinese composers of the 20th century, who created works for the violin, which reflected the general trends in the development of the Chinese musical culture of this period. The fundamentals of the method of composition, which consists in combining elements of traditional Chinese professional music, regional folklore and European composing technique, are outlined.

The study provides a brief overview of violin works, which reflect the historically formed traditions of Chinese instrumental music, the features of regional folklore and the new things that Chinese composers were able to learn when studying the European classical violin repertoire. The applied method, which includes the combination of national style with a variety of compositional and performing techniques typical of European music, is analyzed in detail on the example of the suite for violin and piano "Tibetan Poem" by Ma Sicong.

As a result of the study of works for violin by Chinese composers of the 20th century the author came to the conclusion about the significant influence on them of the folklore of various regions, court and opera music of China. Another important distinguishing feature of Chinese violin music is the combination of local traditions and the principles of European composition, which made it possible to form its unique national composing and performing styles.

The article examines the works of S. V. Rachmaninoff of major genres, created at the end of the XIX – beginning of the XX century. For the analysis, the works united by the idea of Retribution, which is relevant for the designated time, were selected. The author uses the method of comparative as well as complex analysis, identifying common and special features of the First Symphony, the cantata "Spring", the opera "Francesca da Rimini". The method of analysis used shows the commonality of the principles of organization of the musical fabric in the conditions of individuality of the poetics of musical genres.

The issues of improving legal regulation and updating the conceptual apparatus of the sphere of folk arts and crafts in the context of the development of creative industries in Russia and the implementation of state policy for the preservation of intangible cultural heritage are considered.

The current practical approach to folk art crafts as a predominantly sphere of economic activity is critically comprehended. The necessity of revising the content of the concept of "folk arts and crafts" in relation to the creative industries is substantiated. The author argues for the selection of species that are predominantly industrial in nature, and species based on artistic creativity itself in the creation of works of folk arts and crafts as carriers of traditional spiritual and moral values. It is proposed to apply to it the full scope of copyright legislation and measures of state support for the preservation, revival and promotion of intangible cultural heritage.

The article deals with the gestural system, which is an important component of the visual arts contributing to the creation of an artistic image. As painting and drawing developed, the aggregate of gestures evolved into a functional and transforming sign system. Depiction of gesture has served artists as an effective compositional tool since antiquity. Nevertheless, the theoretical research of this tool began only in the Renaissance, mainly within the framework of treatises written by some painters. The study of the gestural system structure, role and functions has been unsystematic and very limited for centuries. The process of researching issues related to the problem of gesture in art received a tangible impetus only in the second half of the 20th century. The article discusses several gestures used when creating a composition by the authors of paintings of a particular subject. An attempt is made to systematize the studied gestures in general, as well as to interpret their meanings.

Methodologically, the article is based on a comprehensive art analysis and textual analysis with a special emphasis on the examination of the visual representation of gesture.

The conclusion based on the results of the study of the selected materials contains two provisions. Firstly, the scale and depth of modern research in the field of the gesture system in the visual arts seem insufficient. Secondly, taking into account modern tasks and requirements of art studies, it is necessary to intensify the research of the system's sign nature.

This article examines an essay by the greatest Greek poet of the twentieth century, Odysseas Elytis, The Divisor K in Modern Painting. The essay refers to the type of imaginary museum accompanied by a curatorial text. Elytis highlights and justifies the metaphysical line in the development of art, which he draws from the hieratic art of ancient civilizations and contrasts it with the procedural line in art, to which he includes both representational and non-representational art of inner experience. Elytis does not use any special terminology, but only generates a phenomenology of affects that distinguishes the metaphysical art he likes from the procedural art.

A number of methodological tools are involved to reconstruct Elytis's position. First, his thought belongs to a specific post-Byzantine tradition in which the argument is constructed not as a constitution but as an arc of demonstrative persuasion, with elements of iconicity. Second, the movement of his thought largely reproduces the principles of Grounded theory in sociology, where the application of qualitative methods at all stages calls for the displacement of concepts with images. Third, Elytis, who was familiar with French speculative thought and psychoanalysis in the first half of the twentieth century, carries out operations comparable to those of Lacan and his followers as well as to the post-structuralist understanding of seduction.

The application of such tools has made clear the conception of Elytis's imaginary museum. First of all, Elytis combines the notion of the imaginary from French theory with a depiction of the museum as a house, a building, a structure, as opposed to a laboratory, that is, he applies an institutional critique. Further, Elytis treats the subjects of modernist art not as a deformation and transformation of reality in art, but as a search for equivalents, thereby bringing together the norm of Orthodox iconography as a direct representation of the otherness and the norm of the Paris studio (like Picasso's studio) as a constant fabrication in different techniques of equivalents of the artist's experience, the relentless production of correspondences to the artist's experience in different materials. Finally, Elytis applies a mathematical code that can construct the unity of the artistic process of the modernist era - and this version of unity may well be in demand by contemporary art history and art criticism as well.

The subject of this article is the Chinese-born American architect Yo Ming Pei's the creative programme. It is believed that in the unique objects of Pei, which were built in China in the 1980–2010s, a full-fledged synthesis of architectural forming authentic Chinese and Western modernist principles was carried out for the first time. The aim of this article is to reveal the problems of this synthesis in the Maestro work.

Pei's creative programme as an interplay of professional and attitudinal factors is reconstructed using examples of Chinese objects through cultural-historical, artistic-stylistic, semiotic and formal-stylistic analysis, as well as through the systematisation of professional criticism and scholarly research.

In the process of achieving the aim, the following conclusions were drawn. Firstly, the conclusion about the formation of a consolidated viewpoint on the compatibility of orientations and values of Western modernism and the Chinese architecture unshakable traditions, which, in turn, are elevated to the paradigms of Confucianism, Taoism, Buddhism. Secondly, the conclusion of the four main factors the interrelationship in Pei's creative programme. Thirdly, the conclusion about the stylistic synthesis of national and international traditions of formation as a neo-romantic adaptation of modernism in China in the XXI century.

This article investigates the evolution of the depiction of Annunciation in the works by Titian. It studies the evolution of this subject matter which occupied a large span of time in the course of fifty years. It was shown which concerns played a crucial role by the choice of the iconographical scheme in the pictorial treatment of this subject.

The method of the iconographical research as well as the one of the stylistic analyses were chosen as the basic methods of scientific investigation. They helped to find out which works of Italian Renaissance art were instrumental in the process of formation of Titian's ideas as the main sources of inspiration. Besides, the use of these methods contributes to consider the style of the artwork analyzed.

The main findings of this article consist in the fact that the new scientific data were obtained on what kind of artworks of the Renaissance artists influenced the treatment of religious iconography in Titian's paintings and in which way this influence was perceived and transformed by him.

Research on the history of the medieval theater has been quite intensive in recent years, as evidenced by a number of recent monographs. Spectacle culture, both ecclesiastical and secular, is of interest in relation to the origins of European professional theater and the study of the social life of that time.

The active participation in such productions of the character of Mary Magdalene, the interest in which also does not decrease, especially in European studies, makes it possible to understand many of the processes characteristic of the areal spectacle by the example of the embodiment of her stage image. The surviving comments on the scenarios of urban mysteries and liturgical dramas, as well as the features of such actions reflected in the works of fine art, shed light on the specifics of the medieval worldview.

The article establishes the relationship and mutual influence of the staging of a religious drama and the compositional organization of the altar image on the example of the character of Mary Magdalene.

The article presents an analysis of some aspects of the activities of the heroes of "Kalevala", the hero Väinämöinen and the "son of the glade" Sampsa Pellervoinen from the standpoint of assessing the plausibility of the events described in this epic. An analogy is drawn between the Karelian runes and Russian legends about Ilya Muromets, based on the identity of the archeological finds at the site of the destroyed Murom Monastery (Lake Onega) and the artifacts of the Volosovskaya and Panfilovskaya sites located in the vicinity of Murom. Materials are considered that testify to the residence of giants in the northwestern Ladoga and White Sea regions.

Historical descriptions of the "Valit Stone" and an analysis of the variants of the origin of the surname "Valit" are given, as well as excerpts from the diaries of Arab historians Akhmer Ibn-Faldan and Abu Hamid Andalusi, who visited Volga Bulgaria in the 11th century.

This text continues the previous article [3, 4, 5], which deals with the issue of typology of art and characterizes the circumstances of the canonical conventions of the Middle Ages in the form of a metamorpheme, the New Age — an anthropomorpheme, a number of phenomena of the twentieth century — the subject of the canon. Morph and morpheme, as previous models of the Image of the World, turn either into a folklore tradition, or become subordinate taxonomic elements of new artistic and figurative systems. The metamorpheme is established from the period of the Abrahamic idea of monotheism, also monism and the Image of the World, which is recognized as the One not in authentic numerous and independent models, but as a common foundation of being that unites all peoples. In monotheism and monism, the idea of a plurality of mythological worlds is abolished, and the image of the referent changes accordingly — in one case it becomes the Personality of the Creator, and in the other, it becomes an extra-personal, extra-spatial and timeless "substance", defined in Buddhism by the category "nirvana". The former canonical structures do not disappear, but they are subordinated to the new laws of the objective and subject content of the Image of the World. The definition of the metamorpheme of the Middle Ages since the New Age corresponds to the modality — "anthropomorpheme" as the scientic center of the World View - a predicate in which a person is recognized as its intellectual center. In the future, this figurative line in the 20th century forms the basis of another modality — the "subject-canon", as a result of a daring attempt at the subconscious construction of the Image of the World, which now corresponds to the paradigmatic model of its presentation. Today, all canonical forms are present in the world artistic culture.

The article raises the question of the place of art faculties in the system of modern education in the field of art in classical universities on the example of the Faculty of Arts of Lomonosov Moscow State University. The principles of modern art history education (integrativity, synthetics, interdisciplinarity, following traditions) are objectified and formulated; the role and importance of art education for preserving and strengthening the historical unity of society is substantiated.

The author is based on the methodology of historical analysis of the stylistic and creative aspirations of several generations of students, the influence of destructive forms and forms of vandalism, as well as on the methodology of art criticism analysis of modern forms of aesthetic extremism in various types of art, in particular, in fine art.

The author comes to the conclusion that classical universities translate the culture of society into the culture of the individual. The innovative model presented in the article, based on the idea of systematic knowledge about art, opens up a powerful potential for the development and improvement of education in the field of art and meets the modern needs of the younger generation.

This article deals with the most significant aesthetic concepts and theoretical research in the field of art sciences developed during the first half of the XIX century by graduates and professors of the Imperial Moscow University. The main purpose of this paper is to introduce to those representatives of Moscow university scientific environment whose research actually laid the foundations of the national art science and aesthetics. This article pays attention only to the most significant representatives in the scientific sense and significant in the context of subsequent research.

During the first half of the XIX century Russian aesthetic thought followed the line of Western European concepts and theories. First of all it is about French classicism and its main follower at the Moscow University A.F. Merzlyakov. Since the 10s, at Imperial Moscow University the romantic theory of art and the "philosophy of identity" by Friedrich Schelling, a representative of German idealism, have been gaining popularity. Russian Schellingianism and Russian Romanticism in the person of such representatives as D.V. Venevitinov, N.I. Nadezhdin, S.P. Shevyrev have become the main source of reasoning about the nature of art and the essence of creativity for several decades. It is within the boundaries of the Romantic-Schellingian tradition that the idea of the specificity of Russian aesthetics path begins to form. The main method on the basis of which the national science of art begins to form is proclaimed the "historical method" (S.P. Shevyrev), and at the same time a gradual rejection of the theoretical and speculative idealistic approach begins.

Immersive theatre is a genre that in recent years has been gaining more and more attention from both creative teams and the public. This innovative form of theatre challenges traditional views on performance, offering viewers a unique, vivid experience.

Based on historical and modern examples, in this article we consider various social, cultural and historical aspects and events that have shaped immersive theatre in its modern form. We also study the main provisions put forward by the ideologists of the direction to give an idea of the evolution of immersive theatre and identify the key factors that contributed to its success as a dynamic and innovative form of modern theatre.

The article also examines the trends of immersive theatre, including the integration of new technologies, interdisciplinary cooperation and the creation of performances affecting pressing social and political issues.

The purpose of this article is to analyze immersive theatre in the context of artistic culture, study its history, trace the stages of development and determine prospects.

The article analyzes «Jardin Infinito», a one-at ballet by Nacho Duato, staged in 2010 at the Compania National de danza in honor of Chekhov's 150th anniversary, in the context of the figurative connection with the primary source beyond the plot and expression of Russian culture features. The concept of the ballet is outlined the musical and set design foundations, the features of choreographic structures, and the artistic methods are analyzed under the influence of postmodern aesthetics and in relation to the сhoreographer's personal style. It is noted that Duato identifies Russian culture through the deconstruction of the artistic world of Chekhov, combining semantic, sound and visual allusions, regarding existential issues and the problem of creativity. Direct connection with Chekhov is realized in the musical design through the reference to his notebooks and diaries, using plastic metaphors associated with the sounding text, and more specific allusions to the images of Chekhov's plays, and with number of audio and visual techniques. It is also specified that Duato goes beyond the limits of the Chekhov universe, emphasizing the imagery of the Russian language through the symbolization of the text by staging techniques. In conclusion, the author notes that the problem of the relevance of the Russianness, highlighted by Duato both in the characters and verbal text, and in the ideological understanding of the play, remains controversial, and gives several arguments in support of his opinion.